A&E Blog: Behind the curtain with New York choreographer Jerry Dixon
By Gabrielle Nomura on September 8, 2010 – 4:45 pmNo Comment
New-York based director/choreographer Jerry Dixon
By Michelle Sanders, Village Theatre
Based on the 1997 British film, the Americanized musical stage version of THE FULL MONTY is being built from the ground up in Issaquah, at Village Theatre’s Technical Studio space.
Esteemed, New-York based director/choreographer Jerry Dixon has returned (Show Boat, 2009) to create his own original staging of this pop-rock musical best known for its hysterical score and heartfelt dialogue. Dixon’s talents are multi-faceted, and he offers a unique perspective in the role of director as his original foray into theatre began with roles in such original Broadway casts as Once on this Island and Five Guys Named Moe.
Dixon invited local dancer Bojohn Diciple (cast member of AIDA and Show Boat at Village Theatre; arguably best known for leading role and choreography work in Intiman’s Black Nativity) to his creative team months ago, to serve as assistant choreographer in this production of THE FULL MONTY.
Q&A
Q. What is the difference between choreographing a musical and a play?
DIXON: For me, one of the most enjoyable differences between a musical, and straight play (non musical), is the expansion of movement that can be created. In a musical, blocking can flow into movement, which can then spring into dance. That very expansion allows for the possibility of collaboration. When directing a play, I will block the entire show myself. The same is true when I direct a small sized musical like, the three-person, “tick, tick… Boom!” In those instances, I prefer to do both blocking, and the movement, envisioned for the musical numbers. When it comes to a musical that requires fully choreographed dances, I definitely want to have a collaborator.
Bojohn Diciple is Village Theatre’s production of AIDA, 2008.
Q. What is it about Bojohn that drew you to him for this production?
DIXON: When Bojohn and I get together to work, we can laugh at the same jokes in the script, enjoy the musical score equally, and see things, staging-wise, in a similar way. But, when it comes to dance, Bojohn’s mastery shines in a myriad of disciplines. For me, though, it goes beyond his training and technique. Directing is very analytical, and while I am happy to possess that personality trait – I know that I must challenge myself to think outside the box. Working with Bojohn pushes me to do just that. I stage based on my learned dance vocabulary, and years of experience, working in the theatre.
Q. Can you describe Bojohn’s style?
DIXON: Bojohn creates The New: a new way to turn; a slant on the basic step-touch; a fresh way for couples to cha-cha! On top of that he’s a powerful athlete. With THE FULL MONTY being populated by characters that are blue collar, sports fanatical, folks from Buffalo, I say Bojohn’s the perfect guy to get the poetry of motion out of these folks.
Q. Was it a team effort?
DIXON: The art of collaboration is to make it all seamless. So, I won’t break down exactly which one of us did what. I’ll put it this way. Where you see my structure, you’ll see Bojohn’s spontaneity. Where you see his flare, you’ll see my sensibility. 5, 6, 7, 8, Dance!
